Nicki Minaj attended a “Pink Friday: Roman Reloaded” CD signing at the F.Y.E. music store on April 4, 2012 in Philadelphia, PA.

As for her new album, I’m a bit on the fence with this one. I looooooooooooooved her last album “Pink Friday”. So far, however, I havne’t liked any of Nicki’s new stuff. Her performance at the Grammys was a HUGE turn-off also.

Here’s what some of the critics are saying about her new album, which was released on Tuesday:

The LA Times: “A supremely confident Minaj trades verses with otherwise cocky male rappers such as Lil Wayne, Drake, Nas and 2 Chainz and not only proves herself their equal but also pushes them to step up with their own ace verses. On the effervescent, minimally invasive bounce track “Beez in the Trap,” Minaj plays the queen of a hive, with Atlanta rapper 2 Chainz buzzing around her.

But then, after the ridiculousness that is “Sex in the Lounge” (which sounds like a Lonely Island parody of an R. Kelly song, and, unsuprisingly, features Lil Wayne), the album drives off a cliff. In a spectacularly unfortunate crash-and-burn, Minaj abruptly hits the accelerator and stops rapping, leaving behind the minimal, bouncy hip-hop tracks that highlight her charm and achievement in favor of 128-beat-per-minute dance pop songs as simple as they are generic.”

Billboard: “Indeed, the first half of Roman Reloaded is the sound of Minaj doing a victory lap – already established enough in hip-hop to compete with her male counterparts, she leaves plenty of room for guests like Rick Ross, 2 Chainz, Drake, and Chris Brown to take the mic. This time around, however, she seems to have her sights set on competing with Jennifer Lopez, Lady Gaga and Madonna, based on the album’s pop-heavy second half. If you thought her David Guetta single “Turn Me On” was a major departure last summer, get ready for five more songs that sound pretty much exactly like that.

In short, Minaj spends more time exploring her musical identity on Roman Reloaded than she does perfecting one, which makes the album sound bloated and rushed.”

Slant Magazine: “The three tracks following “Roman Holiday” are “Roman” songs—i.e., hard, confrontational rap songs with guests like Cam’ron and Rick Ross. And they’re brilliant. “Come on a Cone” has her rhyming over a snarling knot of synths that sounds like a swarm of bees, and includes breaks for Minaj to do her best approximation of a pop-diva vocal while she coos about putting her dick in your face. It’s one of the most hilarious and genuinely unexpected moments I’ve heard from a rapper not named Missy Elliott.

The album is partitioned almost exactly between a rap half and a pop half; the former is unquestionably stronger, but after “Beez in the Trap,” it limps off to its own disheartening conclusion.”

The Washington Post: “Roman Reloaded splits the difference, dividing its 19 songs into “rap” and “pop” sides, which means that Minaj isn’t so much subverting expectations as giving in to them. Twice. Your enjoyment of Roman Reloaded, pop’s most tuneful hollow victory, will probably be inversely proportional to your level of attachment to the original, “authentic” Minaj. The hip-hop songs — some so dirty they should come with their own hazmat teams — are feature-heavy, unerringly sharp and almost entirely great. But they can’t help but seem less fierce against the pink fluff of Roman’s second half.

“The only thing that’s pop is my endorsement op,” Minaj rasps, although the song is, paradoxically, the gateway track to the album’s pop-on-steroids second half. It makes matters painfully clear: Minaj’s competition is no longer the ’90s ghost of Lil’ Kim. It’sKaty Perry.”